As with Flotsam & Jetsam (2004, FORT 04) and Bits & Bobs: Flotsam & Jetsam 2
(2006, FORT 09), this album, ODZNENZ: Flotsam & Jetsam 3, isn't a follow-up to
the album that came before: it's a collection of tracks made over the past 4
years, but not previously released, for a variety of reasons, such as these:

Windsong II [5.40] was composed immediately after Yelling Graveley (2008, FORT
13) was finished, and is based on the original Windsong, which is at the end of
Yelling, Part 5. [Windsong III was recorded immediately after that, and has
already been released, on From Aeolus to Zephyr (2008, FORG 12)].

Freefall Falling [6.06] is an expanded version of the choral section from the
extended 'live' version of Freefall on Flotsam & Jetsam (2004, FORT 4). The
electronic section in the middle uses only material from the choir and an
intriguing program called Argeiphontes Lyre by Akira Rabelais, the artiest
program ever made for the Mac by some distance and capable of quite a lot more
than I've used it for.

Piano Fugue [1:08] and Harpsichord Variations [7:51] were tracks recorded for
Yelling Graveley, but didn't find a convenient place in the final structure of
the 6 pieces which make up the album. The latter is based on some of the piano
variations on Yelling; the former is so called because I believed when I was
writing it - for one of the Yelling woodwind sections - that I was following
the rules for writing a fugue. Those who know about these things might tell
you if this is not, in fact, the case.

Vocal Harpsichord Variation 1 [1.57] is a vocal rendition of the first part of
the preceding track and was deemed sufficiently silly for inclusion here.

I came across this partly finished, heavily mutated, version of JS Bach's Sheep
may Safely Graze [2:43], which was left over after I had completed Walking with
Bees (2006, FORT 08). In the event, neither the original version nor this one
got onto the album: the original ended up on Bits & Bobs, this one here.

I used to have a proper harmonium, which weighed a ton and was pumped by
footpedals, and Morning Calls [1:55], a track originally written and performed
by John McLaughlin and Narada Michael Walden, is a tune I transcribed from the
album and learned to play on it. This track and the next, Raga Durga [4:12],
were recently rescued from mono cassette tapes, very poorly recorded about 30
years ago.

Tracks of My Tears (Single Edit) [7:07] is still too long for a single, but
still severely edited down from the version on Quiet Storm (2007, FORT 12).
Reach Out [11:31], also recorded for Quiet Storm, had to be left out of that
album as there was no room for it.

Orchestral Suite from Caravan [15:54] is exactly what it says it is. After I
finished Caravan (2006, FORT 10), I took all the orchestral bits and made this
suite out of them.

Symphony 1 1/2

So-called because - although it has a new theme, which appears in all three
movements - it is essentially based on Symphony No 1 (2009, FORT 14), from the
album of that name.

I took three 20-30 second extracts from each of the three movements of Symphony
No 1, edited them, processed them electronically, re-edited them, messed them
about, added new orchestration here and there, and this is what emerged:

1st Movement [6:31]. The background of this piece consists of a large number
of different treatments of one extract from the First Movement of Symphony No
1, with new material scored for piano and vibraphone.

2nd Movement [11:19]. This has treatments of the three extracts from the
Second Movement of Symphony No 1, followed by an orchestral version of the new
theme and the remaining extracts from the First Movement.
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3rd Movement [10:18]. This movement uses extracts from the First and Third
Movements of Symphony No 1, ending with a version of the Symphony 1 1/2 theme
combining the styles of the versions heard in Movements 1 and 2.

Alien Landscape V [31.13]. This latest addition to the occasional series of
Alien Landscapes comes from the SPECTRUM Project. The SPECTRUM Project
inspired Symphony No 1, and Symphony No 1 inspired Symphony 1 1 /2, so you
could say that all 4 tracks on this disc have some sort of common origin. I
have described the SPECTRUM Project as:

'A project in which I decided to male electronic music only from sounds found
on cassette tapes around my house. In the case of SPECTRUM, I used a single
tape, intended to load a game onto an early home computer - a Sinclair
Spectrum, in fact, from which the name of the project derives. Although not
intended for listening, an audio recording of the contents of the tape forms
the basis of the 7 sections of the piece.'

Alien Landscape V was originally released on the GENRE Series album Spectrum
(2009, FORG 14). The other tracks from the Spectrum album appeared on Symphony
No 1, so I thought I might as well make this one available on a Regular album,
too.